The Ink Spots The Anthology

The Ink Spots played a large role in pioneering the Black vocal group-harmony genre, helping to pave the way for the doo wop explosion of the '50s. The quavering high tenor of Bill Kenny presaged hundreds of street-corner leads to come, and the sweet harmonies of Charlie Fuqua, Deek Watson, and bass Hoppy Jones (who died in 1944) backed him flawlessly. Kenny's impeccable diction and Jones's deep drawl were both prominent on the Ink Spots' first smash on Decca in 1939, the sentimental "If I Didn't Care." From then through 1951, the group was seldom absent from the pop charts, topping the lists with "We Three (My Echo, My Shadow, and Me)" (1940), "I'm Making Believe" and "Into Each Life Some Rain Must Fall" (both in 1944), and "The Gypsy" and "To Each His Own" (both in 1946). Watson eventually split to form his own group, the Brown Dots, and appeared in numerous low-budget film musicals, while Kenny attempted a solo career, notching a solo hit in 1951 with the uplifting "It Is No Secret." Countless groups masquerading as the Ink Spots have thrived across the nation since the '50s.

The Ink Spots played a large role in pioneering the Black vocal group-harmony genre, helping to pave the way for the doo wop explosion of the '50s. The quavering high tenor of Bill Kenny presaged hundreds of street-corner leads to come, and the sweet harmonies of Charlie Fuqua, Deek Watson, and bass Hoppy Jones (who died in 1944) backed him flawlessly. Kenny's impeccable diction and Jones's deep drawl were both prominent on the Ink Spots' first smash on Decca in 1939, the sentimental "If I Didn't Care." From then through 1951, the group was seldom absent from the pop charts, topping the lists with "We Three (My Echo, My Shadow, and Me)" (1940), "I'm Making Believe" and "Into Each Life Some Rain Must Fall" (both in 1944), and "The Gypsy" and "To Each His Own" (both in 1946). Watson eventually split to form his own group, the Brown Dots, and appeared in numerous low-budget film musicals, while Kenny attempted a solo career, notching a solo hit in 1951 with the uplifting "It Is No Secret." Countless groups masquerading as the Ink Spots have thrived across the nation since the '50s.

This expansive four-disc anthology essentially covers the recorded history of the guitar in the 20th century, beginning with the ragtime banjo that set the table for the role of the guitar in a jazz setting in the early 1900s, and then touching all the bases clear through to the post-postmodern possibilities of the instrument in the 21st century. Don't let the subtitle throw you, though, because Progressions: 100 Years of Jazz Guitar interprets jazz guitar in the broadest of strokes, as it includes not only pantheon jazz players like Eddie Lang, Django Reinhardt, Charlie Christian, Les Paul, Wes Montgomery, and John McLaughlin but also provides an uncommon sweep by featuring Hawaiian stylists Roy Smeck and Sol Hoopii; Western swing aces Leon McAuliffe and Eldon Shamblin; country jazzman Hank Garland; rock virtuosos Jimi Hendrix, Carlos Santana, and Jeff Beck; fusion funksters Larry Carlton, Al DiMeola, and Mike Stein; and hard to classify avant-garde players like Derek Bailey, Sonny Sharrock, James Blood Ulmer, and Marc Ribot.